#it makes sense to me at least

[ftm-megamind]

what if jack really did run away to santa fe. what if he really did accomplish his dream of being a cowboy, free and wild. but what if with each step taken it dawned on him just how wrong he was. sure he would have a real cowboy hat and some real guns and boots with spurs and a horse that would be his perfect companion and no responsibilities and finally no one to disappoint. but what if he actually found that he preferred the fear of being not enough over not having anyone. he wouldn't have evening cigarettes with race and he wouldn't have silly arguments with kid blink and he wouldn't have swapping war stories with crutchy and he wouldn't have play-pretend time with the littles and he wouldn't have kloppman making sure he's at the lodge and he wouldn't have david talking some sense to him. and he wouldn't be The Cowboy anymore. he would be just Some cowboy. some lonely cowboy far away from home with no friends and family just like he always wanted. some lonely cowboy whose biggest fear is no longer being a disappointment but instead whether it's too late to come back

[transannabeth]

for research purposes (genuinely), i'm looking to make a list of what people consider Required Viewing™ (or reading) in terms of vampire fiction. while specifically this research is for paranormal romance, other iconic vampire fiction that add to the canon would be much appreciated. i would especially be interested in any stories about non western vampiric creatures since they are absolutely out there!

some (but not all!) of my current list includes

dracula by bram stoker

carmilla by sheridan le fanu

interview with the vampire by anne rice

twilight by stephenie meyer (yeah i know)

the awakening by l. j. smith

[which-qsmp-egg-would]

I just realized that I made a pfp of Poll, then completely forgot to do anything with it. I don't know how many of you are here right now, but what do we think of this for a pfp?

I tried to keep in line with the current one, so the change isn't jarring? It'll definitely work as a temporary one until something better shows up. Just like. Comment if it's good I guess?

[juicyjuicy05]

[calmboyl]

I had a what if idea, where pitch just is a hikikomori (a recluse) and it does partially fit in with his character (at least in my eyes) yes im throwing out like, almost all the canon here but this is my idea and i can bend it to my will! ( ^ω^ ) also i thought changing the word hikikomori to pikikomori would be funny, yk switching a letter. i think its cute! and thats also what i decided to name this au, i also think there are like not many altercations with other spirits and myths with Pitch. he might’ve been out there and moving in the past but now he just stays hidden completely from sight, once in a while you’ll get to see or year about him being out but i think its mainly just the bare minimum for his existential. i think that some spirits (probably North) would be worried for him, maybe once in a while a spirit might hang out but not much, maybe drop of food or smth?

anyways heres some info on hikikomories

Hikikomori (Japanese: ひきこもり or 引きこもり, lit. "pulling inward, being confined"), also known as severe social withdrawal, is total withdrawal from society and seeking extreme degrees of social isolation and confinement. Hikikomori refers to both the phenomenon in general and the recluses themselves. The concept is primarily recognized only in Japan, although similar concepts exist in other languages and cultures. Hikikomori have been described as loners or "modern-day hermits". Estimates suggest that half a million Japanese youths have become social recluses, as well as more than half a million middle-aged individuals.

While many people feel the pressures of the outside world, hikikomori react by complete social withdrawal. In some more severe cases, they isolate themselves in their bedrooms for months or years at a time. They usually have few or no friends. In interviews with current or recovering hikikomori, media reports and documentaries have captured the strong levels of psychological distress and angst felt by these individuals.

While hikikomori favor indoor activities, some venture outdoors occasionally. The withdrawal from society usually starts gradually. Affected people may appear unhappy, lose their friends, become insecure and shy, and talk less.

When it comes to psychosocial support, it is hard for therapists to attain direct access to hikikomori. research to find different and effective treatment plans to aid hikikomori has been ongoing. One such treatment plan is focused on the families of hikikomori. Such focus primarily includes educational intervention programs (e.g. lectures, role-play, etc.) that are geared towards reducing any averse stigma that family members have towards psychiatric disorders like hikikomori. These educational programs are derived from other established family support programs, specifically Mental Health First Aid (MHFA) and Community Reinforcement and Family Training (CRAFT). CRAFT specifically trains family members to express positive and functional communication, whereas MHFA provides skills to support hikikomori with depression/suicidal like behaviour. Studies so far that have modified the family unit's behavioral response to a hikikomori has yielded positive results, indicating that family behavior is essential for recovery, however further research is still needed.

Although there has been a primary emphasis on educating family members, there are also therapy programs for the hikikomori themselves to participate in, like exercise therapy. The individual psychotherapy methods that are being stressed in current research are primarily directed towards cultivating self-confidence within the hikikomori. However, studies have delineated that efficacious treatment of hikikomori requires a multifaceted approach rather than the utilization of one individual approach, such as individual psychotherapy or family therapy.

[minecraftian1213]

This was actually explained in the Star Trek fandom when you look at Kirk and Spock and Picard and Riker. They only seem this way because of who they stand next to.

Rex is seen as crazy because he goes along with Skywalker's crazy stunts when in actuality the man has zero choice in the matter.

Cody is seen as put together because Obi-Wan is seen as a very refined jedi. And also because they're in charge of a large portion of the GAR.

Cody canonically opts to straight up brawl with droids and yet is seen as calm and put-together while Rex is depicted as more chaotic and what I’m saying is do you think Fives and Rex meet up and talk about what it’s like to have brothers that everyone assumes do everything by the book but are actually so deeply inclined toward chaos?

[hinamie]

I'll rip in hands and teeth and take a bite

[xxplastic-cubexx]

brain please wake up and draw

bonus :

[turtleblogatlast]

Leo learns something about himself 🏳️‍⚧️

Based roughly on this old post.

Bonus:

[Leo is taking the fact that he was born biologically female simultaneously very well and also not so well but overall he’s mostly coping with the fact that it was Draxum that just essentially gave him the turtle equivalent of ‘The Talk’.]

[mythicalcoolkid]

You don't wish your disability was worse or more visible, you wish your disability was taken seriously. Please stop confusing the two, I guarantee you would not get the support you need JUST by being more severe or more visible. Please listen to visibly disabled people when we tell you it isn't better on our side

[aroaceleovaldez]

i have suddenly become obsessed with a theme that HoO established but never proceeded to extrapolate on, which is:

You are Percy Jackson, and you have been swapped with a boy who was allegedly everyone's favorite person, but they have decided to replace him with you. They just met you. You stand next to his best friend and the people he's known his entire life. In his home. In his cloak. In his place. They stopped looking for him.

You are Jason Grace, and you have just found out you have a long lost sister who completely replaced you in her life with this girl you just met. Your lives and personalities are mirrors. She is you, living the life you were robbed of.

You are Annabeth Chase, and you have just become starkly aware that you have been inhabiting the void left behind by your best friend's long lost brother. You and Luke were just replacements for him. Now you have to look him in the eyes when he has nothing and know you took that life from him.

You are Piper McLean, and you have just found out your relationship is fake and built entirely on the memories of Annabeth Chase. You have been given a boyfriend when hers has been taken away. You have no idea how much of it is real or not but regardless you feel like if your relationship isn't exactly in their image that you have failed.

You are Leo Valdez, and you have just learned that you are the echo of your great-grandfather. You are not your own person. You just exist to be a mirror of him. A doppelganger. An actor and stunt double facing all the danger he never had to but wearing his face. To be there for his best friend decades later simply because he couldn't. You are playing a role. A seventh wheel and a pawn for a goddess who carefully sculpted your entire life for her own purposes.

You are Hazel Levesque, and the only reason you are alive is because your brother couldn't save your his sister. You are a consolation prize. An apology. Your existence here is misplaced in every way but you inhabit it anyways.

You are Frank Zhang, and you are a shapeshifter. Inhabiting your own body feels strange and clumsy when you could be literally anything at any time. You are anything and everything and live your life with the simple certainty of knowing exactly how you will die.

[uncanny-tranny]

The leftism/anticapitalism leaving people's bodies the zeptosecond you imply that disabled people who aren't "productive" still matter in society and need to be treated like intrinsic equals who have a place in this world:

[hajihiko]

💕

[anna-scribbles]

doodles from the last few months

[reasonsforhope]

People ask me sometimes how I'm so confident that we can beat climate change.

There are a lot of reasons, but here's a major one: it would take a really, really long time for Earth to genuinely become uninhabitable for humans.

Humans have, throughout history, carved out a living for themselves in some of the most harsh, uninhabitable corners of the world. The Arctic Circle. The Sahara. The peaks of the Himalayas. The densest, most tropical regions of the Amazon Rainforest. The Australian Outback. etc. etc.

Frankly, if there had been a land bridge to Antarctica, I'm pretty sure we would have been living there for thousands of years, too. And in fact, there are humans living in Antarctica now, albeit not permanently.

And now, we're not even facing down apocalypse, anymore. Here's a 2022 quote from the author of The Uninhabitable Earth, David Wallace-Wells, a leader on climate change and the furthest thing from a climate optimist:

"The most terrifying predictions [have been] made improbable by decarbonization and the most hopeful ones practically foreclosed by tragic delay. The window of possible climate futures is narrowing, and as a result, we are getting a clearer sense of what’s to come: a new world, full of disruption but also billions of people, well past climate normal and yet mercifully short of true climate apocalypse. Over the last several months, I’ve had dozens of conversations — with climate scientists and economists and policymakers, advocates and activists and novelists and philosophers — about that new world and the ways we might conceptualize it. Perhaps the most capacious and galvanizing account is one I heard from Kate Marvel of NASA, a lead chapter author on the fifth National Climate Assessment: “The world will be what we make it.”" -David Wallace-Wells for the New York Times, October 26, 2022

If we can adapt to some of the harshest climates on the planet - if we could adapt to them thousands of years ago, without any hint of modern technology - then I have every faith that we can adjust to the world that is coming.

What matters now is how fast we can change, because there is a wide, wide gap between "climate apocalypse" and "no harm done." We've already passed no harm done; the climate disasters are here, and they've been here. People have died from climate disasters already, especially in the Global South, and that will keep happening.

But as long as we stay alive - as long as we keep each other alive - we will have centuries to fix the effects of climate change, as much as we possibly can.

And looking at how far we've come in the past two decades alone - in the past five years alone - I genuinely think it is inevitable that we will overcome climate change.

So, we're going to survive climate change, as a species.

What matters now is making sure that every possible individual human survives climate change as well.

What matters now is cutting emissions and reinventing the world as quickly as we possibly can.

What matters now is saving every life and livelihood and way of life that we possibly can.

[gentlemanjuniper]

If I could inject just a little positivity to the news...

Season 2 has a lot of filler and stretches out a pretty simple mystery to six episodes. That's the appeal to some, I get it. But tightness and focus was not its strong suit. I remember feeling like it wasted a ton of time on side characters and it's possible shaving the story down to 90 minutes will skim things down to its most essential beats and be stronger for it. Basically, S2 got a lot of time given to it, and this is obviously my personal opinion but I don't think it used all of it well. I think S2 itself could have been half the length simply by employing more efficient storytelling and we'd not mourn too much.

A lot of S2's weaker plotlines feel built around people that Neil wanted to work with again, with so many recurring actors (I'm thinking of the zombies specifically, when that minisode could have easily been tighter without them). A lot of s2 to me feels like Neil just making work for the people he likes and wants to work with and a movie has to be more accountable to things like that.

Lots of entire fandoms exist around single movies. 90 minutes is not nothing. It's enough for many, many films to tell a complete story with cute character interactions and satisfying emotional arcs, especially when A&C are the only real significant connecting threads between both seasons thus far.

I don't think there are as many loose threads that absolutely need resolving as people may be thinking. Would I like to know why Aziraphale did the '40s apology dance? Would I like to see his bookshop gun? Sure. Are either of those necessarily essential to closing out the story? I don't think so. Really, what needs resolving is the second coming and, directly connected to that, Aziraphale and Crowley's rift. To me, not knowing the story obviously, that seems super reasonable to do in 90 minutes?

I don't think anyone involved in the final season can possibly be blind to the appeal of the show being Aziraphale and Crowley over anything else. That's certainly the reason why their roles were expanded to begin with from the book and why the second season was, nominally, all about them. They also now have to pay MS and DT for appearing in a movie rather than an ensemble show, there's no way they won't be front and center. Amazon wants a show that will make money and market itself; there's a reason why all the promo material for S2 was of Crowley and Aziraphale, because people engage with that stuff, reblog it, make art that promotes the show, etc. It makes no artistic or financial sense to make a movie that sidelines them.

GO is at its best when it has Terry's voice most strongly in it. That's why to me, S2 was a weaker, more meandering season overall (that, and I think the minisodes, while fun, just make the season feel comprised of different voices not always working in tandem towards a common goal). If I was a writer hired to condense a season into a film, and one of the authors had been rightfully disgraced, I would go out of my way to ensure the clearly Terry stuff is most significantly emphasized. It's telling to me that the Pratchett estate is producing and it's possible that the end result will result in more Terry, less Neil.

Think of it this way: everything we've gotten after S1 has always been extra. Imagine telling a fan of the book in the 90s that not only will you get a six episode adaptation, you also get a totally new second season, AND a movie?

Basically: I know this is disappointing but I think a lot of the pleasure of the Good Omens fandom was ALWAYS people picking up on and expanding on details, and y'all managed to do that just fine when A&C were only ensemble members in S1. You can and will do that with a movie too. And this solution both a) ensures first and foremost that Neil won't be involved or the allegations swept under the rug, and b) gives an opportunity for the heart of the story to be emphasized with greater focus, clarity and less filler.

Will we lose good stuff? Probably. But it's also possible we will get a tighter, more condensed, focused version of the best bits, the Terry Pratchett-est bits. I can easily see a 90 minute movie that, knowing they HAVE to focus on the important stuff now, is more Crowley and Aziraphale centric than ever.